gaglogo               © 2012
 
 

Deborah Paauwe

 
 
www.deborahpaauwe.com  

“Whether portraying an image of a girl tying a ribbon on her friend's pony tail, an adult woman's legs entwined with those of a girl, or two nude women lying side by side under see-through fabric, Deborah Paauwe's photographs are hauntingly mysterious.”

(excerpt from Deborah Paauwe: Beautiful Games (book review) by Penny Craswell, 2004

 
   
Works chronology  
   
Sugar Nights Works 2002 Milk White Shadows Chinese Whispers Small Hours Dark Fables The Crying Room  
Carousel The Yellow Line The Yellow Line  
     
Essays  
 
·
 
The Painted Mirror, by Dan Rule, 2012
 

The desire to perform and the want to conceal would seem counterintuitive in theory. The mere thought of subjecting oneself to the gaze of the camera, the reach of the microphone or the lights of the stage conjures a nightmarish prescience in some, just as it engenders an almost lustful flight of fancy for others.

But we are complicated beasts; confused compounds of projected familial aspirations, inner desires and outward appearances. The semblance of bashfulness or extroversion hardly equates to a resolved behavioural or psychological state. The troubled, shambolic lives of countless of our most renowned dramatic and musical icons would seem to render the correlation between public face and personal fulfilment perilously tenuous. Appearances can often be deceiving.

It’s a notion worth taking into account when spending time with The Painted Mirror, the most recent body of work from American-born artist Deborah Paauwe. Employing the sequins, sheen and symbology of the child beauty pageant as its register, this suite of staged portraits skirt a particular tension between public and private. Indeed, while Paauwe’s close-cropped, highly gestural photographs capture her young teen (and even younger tween) protagonists striking various melodramatic poses in full, garish kitsch regalia, there is something askew.

As with much of Paauwe’s work, the girls’ faces are obscured and erased from view; in this case, via a series of handheld props, such as vintage, hand-painted mirrors and colourful paper fans. It’s a telling motif. Like earlier work, too, there are irrevocable linkages to personal history and autobiography here. That Paauwe cites her part-Chinese heritage – specifically, a cultural sensibility of concealing one’s emotions – as an inspiration for the series adds an intriguing layer. 

With the face concealed, there is little personal legitimacy to these poses. Indeed, how does one read the body without the aid of the face? Our eyes fall upon the details – the position of the hand, the fall of the hair, the subtle stain of recently removed nail polish. The children’s gestures, costumes and bodies become an almost arbitrary system of signifiers.  They resemble and hint at emotion and joy and reticence, but they fail to offer confirmation.

What might have been considered as a light-hearted study of primping, play and “girls being girls” is in fact far more complex in its disposition. These are girls are play-acting learned femininity. They are living out contrived drama, emotion and behaviour of someone else’s dream.  

 
·
 
The Yellow Line, by Dan Rule, 2010
 

There is a spectre in these scenes. There is an intimacy of memory, an unbreakable resilience between present and past.

Economy is of the essence here. Even the slightest of gestures become crucial. A touch or twist or link of hands; a head turned; an index finger, slightly raised. The actions are muted somehow; tender, far from overt. But they are significant.

The two figures at the centre of Deborah Paauwe’s new body of work are permanently connected, irrevocably entwined.

The Yellow Line Paauwe refers to in this collection of large-scale, staged, highly gestural colour photographs is one of the road. Born in Pennsylvania, her early life was spent in the back seat of the family station wagon, traversing the highways of 1980s America.

What we witness in Paauwe’s photographs, however, subverts romantic, cinematic connotations of travel. Here, the signifiers of freedom – endless highways, sky and empty expanse – are obscured and erased. The austere, symmetrical environs of an underground car park take their place. The yellow line creeping into frame leads not to a distant horizon, but to the arbitrary swirl and texture of a concrete wall.

As with the majority of Paauwe’s work, the pair of protagonists here are female, faces obscured from view. Their body shape, hair colour, signature of movement and gesture, are remarkably similar, almost familial. Yet, there is an ambiguousness to the figures. Age is indecipherable at first glance. Both are lean and long-limbed, in a youthful way. They cling together in their matching Sunday best, tightly framed and cropped against cold grey.

With time, more details come to light. Disparities between the pair become more evident. Bruises become decipherable, as do veins, the deep scarring on a leg. We come to realise that one subject to be a woman and the other a child. In a shift from Paauwe’s recent works from the exhibitions Kindle & Swag (2005) and The Crying Room (2006) – which resonated with a kind of lush sensuousness and sexuality – the figures in The Yellow Line espouse a different brand of intimacy. Their touch becomes one of nurture, one of connection via mutual experience. It is not necessarily one of choice.

The idea that the woman and child might be an allegory for Paauwe’s adult and childhood selves seems particularly compelling. Though separated by time, their shared memory ensnares and entraps them both.

The Yellow Line is a parable not of boundless freedoms, but perhaps of our inability to break from our past.

Dan Rule

Dan Rule is an arts and music writer from Melbourne. He writes the 'Around the galleries' column in The Age and is the co-founded of independent art publishing imprints And Collective and Erm Books.

 
 
·
 
Twists and turns, by Zara Stanhope, 2008
 

Do you own a collection of love letters or cards – a surprise bundle which you unearth now and again when moving house or spring cleaning? No matter how many years or decades go by, there are certain notes which have retained their original resonance, even if tainted by subsequent events. It takes more will than we have been able to muster to completely sever these memories or bonds of personal history, imbued as they are with hopeful desires and impetuous behaviour. Such traces of love or lust are not yet ready for the recycling bin. However, with the benefit of retrospectivity we sense the ghosts of déjà vu and inevitability. No matter the freshness of the feelings once pressed into the service of a relationship, those sentiments had always been said (by others) before and would be conveyed by us again.

It may seem a leap from those communiqués of ardor to Deborah Paauwe’s current body of photographs. On the other hand, her images are also suffused with symbolic power, that of photography, and the representational and associative possibilities of her medium and subject matter across time. Like a lover, Paauwe understands the pull of love and yearnings of the flesh. She explores the effectiveness of her medium as an organic substance, a surface producing images of beauty, sentiment, metaphor and other universal values. By conjuring other bodies with her photography Paauwe presses us to question our relationships with these others she controls, and to ask just what the artist is proposing here?

Across the twentieth century, photographers have tested questions of how the truth and goodness of images can be called to account. Paauwe extends this tradition of image-making. Confining her sitters to children and young adults enables a boundary to be drawn around a subject, limiting the zone in which she will tighten the screws. The strategy is then to survey and zoom in on her subjects. In the current series Carousel, Paauwe’s lens has the forensic scrutiny of a diligent anthropologist or apprehensive matriarch. No detail escapes the camera’s meticulous recording of hands, feet, fabrics and other physical details.

The format of these photographs of ‘restless mysteries’ tidies young women into something unnatural: each is almost perfectly geometric, a unitary circle within a square. Shot from above, the viewer seems to take the role of a microscope lens, pressing down on its specimen. Any personal or womanly differentiation is minimised, drained by the colouration of the light and surrounding whorls of closely toned cotton and chiffon.

These photographs clearly distinguish themselves from family or studio images, most particularly for the lack of visibility of the girls’ faces. Even the freshness of youth is masked in this way, only bared necks or vulnerable female backs are exposed to view. The sense of strangeness is heightened by the dresses, which evoke another, earlier decade, appearing incongruous on the frame of a young girl whose body does not give off the excitement of dressing up and childishly play acting for the camera. Laying bare an enigma, the truth of the relations in Paauwe’s images can only be accessed by the viewer’s imagination.

The catatonic stillness and repeated, decisive moments of the Carousel series are clearly an artifice, but a deliberately elusive play act on the part of the artist. Are the downcast and hair-covered faces to suggest modesty, or euphoria? Is this a lover’s strategy of designing similarity in order to expose difference or highlight beauty in the flawed details of bitten finger nails, ill-fitting gowns, inaccurately parted hair and stained frocks?

Coils, dots, spirals, wheels and whorls; Paauwe turns the symbolic potential of photography over and over like a lover composing an undeliverable poem. There is no relief for the desire that loops the viewer’s gaze across image after image, no end is offered to the cycling of related ideas. Her romance with flesh and feelings is a fascination shared historically with artists from Inges to Matisse, and remains a compulsion with her contemporaries such as Kiki Smith.

Photographs both mark and connect points across time, memorializing others and reinvigorating feelings held in suspension, like remembering a face recalled by a long forgotten valentine. Love and mourning, life and loss: both circulate through images and texts. Such connectivity is also to be found in the myths and theories that explain humanity and provide our understanding of nature, as well as being absorbed into academic disciplines from psychoanalysis to economics when birth is described as part of death, beauty found in ugliness, consistency reliant on instability, the void part of wholeness… Similarly we find contemporary and intertwined sensations, such as that of the unspoilt and the violated, the demur and despoiled, responses that circulate in our viewing of the Carousel images.

With compositions reminiscent of the centralised orb of an eye, the images of Carousel uncannily look back at us. Their permanent stare is a reminder not only of the endurance of the print but also the archiving power of the mind, with its often capricious recall of past infatuations and adored ones. Paauwe pours over the interlinked topology of reality, image and memory, and invites the magic of transubstantiation from material facts to unconscious emotions. She helps us see that the camera cannot compare to the godlike eye, even though photography is less and less forgiving of human imperfections. Aware of photography’s inevitable fickleness and infidelities, will we ever love her exquisite wheel again?

Zara Stanhope
Deputy Director, Senior Curator

Heide Museum of Modern Art

 
 
·
 
Adorned in Dreams: Deborah Paauwe's The Cring Room, by Kate Rhodes, 2006
 

Deborah Paauwe's recent photography draws together flesh and fabric. It is at this junction that the significant relationship between textiles and the human body becomes an interface to the social world. This new collection of images continues the artist's highly refined visual strategy of young, female, headless bodies in contrast with cloth, objects and other skin. However, this time there is more of an emphasis on image styling. In The Crying Room the arrangement of carefully selected components raise purple, peach, green, pink and red tulle, velvet and chiffon to a key position along side the human elements of Paauwe's images. These fabrics lie with the bodies of the artist’s subjects, in, on and around them. The peaks and troughs of net and pile are a soft but tangible landscape setting for a new, capricious, world created by Paauwe.

In light of this, The Crying Room – a series of ten large square type C photographs – resembles another genre of image making driven by temporal scrambling, image fetishism and the drive for desire and illusion: fashion photography. This series skates along the rim of fashion imagery more than any of her previous bodies of work. Indeed, The Crying Room might be said to evoke fashion photography's key principles, where the powers of seduction lie in an ability to veil the real and create a dream space where viewers lose themselves in fantasy and reverie.

Photographer Richard Avedon once described his role at Vogue as 'selling dreams, not clothes'. Fashion advertising is not concerned with cataloguing the everyday or with facts, instead, it "hides the origins of things." It is this template that seems to offer the most productive window through which to view Paauwe’s photographs. There are a growing number of fashion photographers, that, like Paauwe generate images that snare desire without the aid of an obvious commodity object. Instead, they exist on the level of the sign and tempt viewers through the construction of mesmerising enigma.

Fashion academic Caroline Evans writes that the fashion commodity has "evolved into a mutant form with the capacity to insert itself into a wider network of signs". Under these terms, fashion is a prolific virus with the power to infiltrate already highly symbolic zones. According to Evans, this mutable identity is defined by fashion’s large web of relations and ability to define itself "as image, as cultural capital, as consumer goods, as fetish, art exhibition, item on breakfast television, show invitation, or collectable magazine". Art photographs such as Paauwe's that share an appearance with fashion imagery then, might find an entry point into this system of relayed signs, suggesting a kind of image power that exists only outside the white walls of a gallery.

Whereas in past series by Paauwe they have played a key role, the absence of children now moves the uncertain narrative that is a central feature of her work to an adult fantasy. Here the risk or anxiety associated with viewing faceless, splayed bodies can be an issue of semi-subversive engagement without such high moral ties as the bodies seem to unselfconsciously invite scrutiny. Images of the adult body can be pushed even to the brink of death and humiliation in the name of mass-consumed viewing pleasure as the fashion photographs of Izima Kaoru and Juergen Teller show. Paauwe uses this tension and invites that same pleasure on two levels. The surface register combines young smooth flesh in a opulent setting of rich fabrics while the layer of detail that sits beyond is what ‘pricks’ us, the punctum that Roland Barthes described.

Bitten nails that leave long figures with protein stumps, a red back rash and too big veins are snippets of the 'real' which Paauwe uses to draw us further into the image for long, close looking. Such 'defects' in the beauty so consciously realised are left to wrestle in a game of fascination and repugnance while the little ruptures they induce are dazzling. Paauwe plays on the fact that the commodification of desire most often leads to the promotion of relentlessly similar beauty icons. Her models shed their status as the human embodiment of the dress-maker's dummy and in fact invite a kind of unpleasure when we see beyond the airbrushing and other touch-ups that characterise most fashion photography.

Paauwe's two female characters, and their sexy slothful state, have a secretive, far-away feeling that is a mixture of youthful self-interestedness and ennui. The women wear floaty dresses with ruffled necklines and waist-ties in antique cream silks. These garments are so strongly infused with nostalgia and an infantilism that the appearance of the women's loosely draped fabrics, their glossy tumbling hair and the invitation to pry into their secret whispers and actions, prompt a range of psychic, voyeuristic and fetishistic affects. Paauwe’s stagecraft turns these girl-women into image objects, from their previous role as live beings. Moreover, our access to these figures is given a heightened sense of prying interference when we consider the title of the new series. Crying Rooms are sound-proofed areas in cinemas and churches, designed to dull the sound of crying babies. Seemingly, Paauwe has put us in the position of watching two women weep who do not want to be found out.

Fashion photography can be a kind of guillotine for women's bodies that dissects an image so as to extract key information. In the sixteenth century, this kind of dismembering took place in a blazon, a type of poem that described the body parts of a woman. When traded between poets, the blazon created an image of women through their selected anatomy, not unlike the experience of flicking through a fashion magazine. Paauwe's amputated bodies, and the way her camera selects only slices of cocked and prone postures is perhaps a modern day blazon; a poem to women’s bodies that forms an epic work in light of an oeuvre of odes to cropped figures. She offers visual pleasure but asks how such a response and its inherent instability and transience resonates in the present.

Kate Rhodes, 2006

 
 
·
 
Deborah Paauwe: Beautiful Games, by Penny Craswell, 2004
 

[book review:
Deborah Paauwe: Beautiful Games
By Wendy Walker
Wakefield Press ]

Whether portraying an image of a girl tying a ribbon on her friend's pony tail, an adult woman's legs entwined with those of a girl, or two nude women lying side by side under see-through fabric, Deborah Paauwe's photographs are hauntingly mysterious.

Undeniably beautiful images, they are mysterious not only individually, because the faces of the subjects are always hidden, but also through their juxtaposition - her photographs show little girls, adolescents and women (sometimes their ages are unclear) - little girls dressing up to be "grown up" and adult women in fairytale costumes.

All of the images also convey varying degrees of implied eroticism - they show women sharing beds with little girls (which implies a sleep-over or mother/daughter relationship) and with each other.

None of the images of girls is actually erotic and all could be interpreted as innocent, but the similarity of innocent sleep-over images containing little girls and erotic images of mature women sharing a nude embrace are deliberately confusing.

Paauwe has admitted that in her images "there is a delicate balance between voyeurism and something that could be perceived as more disturbing".

In this new monograph of Paauwe's work, Wendy Walker discusses these issues of "the gaze" and voyeurism, placing Paauwe's work within the context of feminist and post-feminist theory. She discusses the similarity of her work to that of artists such as Cindy Sherman who first experimented with "filmic" photography and also points out how Paauwe's life experiences and exploration of femininity from girlhood through adolescence and on to womanhood have come to influence her work.

This book also shows some of Paauwe's new work in the series "Chinese Whispers". In this new work, for the first time, the girls' faces are painted and, although face-painting is ordinary for children and quite innocent, there is a sinister quality to these images, as if Paauwe wants to show us the faces she has been hiding for so many years as bestial.

The themes of games in earlier images like Glass Slipper and Slipperless are repeated in images of doll houses and there is a new open eroticism to paintings such as Tangled Whisper, featured on the cover of the book.

Here, the intimacy between the two adult women is not covered by a layer of cloth - it is out in the open, if privately shared between the two.

Paauwe has come a long way since the initial innocence of her earliest photographs - the portrayal of individual girls at play.

It seems that her work has evolved from a simple evocation of her childhood to a more sophisticated look at the stages of childhood, adolescence and womanhood, including an increasingly open and up-front sexuality and eroticism.

Penny Craswell, 2004

Penny Craswell is an arts writer and communications manager for the National Association for the Visual Arts.

 
 
 
 
 
 
[essays should not be reproduced without permission from the authors]
   
 
 
BIOGRAPHY
1972
Born, Pennsylvania, United States
Deborah Paauwe
1985
Arrived, Adelaide, Australia
1994
Bachelor of Arts Degree (Visual Arts), South Australian School of Art, University of South Australia
1996
Post-Graduate Diploma in Management (Arts), University of South Australia
MA Fine Art Degree (Combined Media), Chelsea School of Art, The London Institute, UK (Anne & Gordon Samstag International Visual Arts Scholarship)
 
 
SOLO EXHIBITIONS
2012 The Painted Mirror, Greenaway Art Gallery, Adelaide
The Painted Mirror & selected works, Nellie Castan Gallery, Melbourne
2010 The Yellow Line, Greenaway Art Gallery, Adelaide
The Yellow Line, Sutton Gallery, Melbourne
The Yellow Line, Chaffers Gallery, Wellington, New Zealand
2009 The Yellow Line, Criterion Gallery, Hobart
Carousel, Johnston Gallery, Perth
Carousel, Queensland Centre for Photography, Qld
2008 Carousel, Greenaway Art Gallery, Adelaide
Carousel, Sutton Gallery, Melbourne
Carousel, Chaffers Gallery, Wellington, New Zealand
2007 The Crying Room, Johnston Gallery, Perth.
Recent work, Maitland Regional Art Gallery, New South Wales.
2006 The Crying Room, Greenaway Art Gallery, Adelaide.
The Crying Room, Sutton Gallery, Melbourne.
Deborah Paauwe: photographic works, Art Statements Gallery, Hong Kong.
2005 Magic Window, Sherman Galleries, Sydney.
Magic Window, & selected works, Monash Gallery of Art, Melbourne.
Small Hours, & Dark Fables, The Church Gallery, Perth Festival, WA.
2004 Chinese Whispers, Small Hours, & Dark Fables, Greenaway Art Gallery, Adelaide.
Chinese Whispers, Small Hours, Sutton Gallery, Melbourne.
2003 Deborah Paauwe: photographic works, Bartley Nees Gallery, Wellington, New Zealand
Beautiful Games, Centre for Contemporary Photography, Melbourne
Once in a lullaby, Samstag Program’s Disclosures series of one-day artist projects, Elder Park Rotunda, Adelaide, South Australia
2002 Deborah Paauwe: photographic works, Fundacion Pi y Margall, Madrid, Spain
Double Dutch, Greenaway Art Gallery, Adelaide
Deborah Paauwe: photographic works, Gallery Luis Adelantado, Valencia, Spain
Tuesday’s Child, Gallery 4A, Asia-Australia Arts Centre, Sydney
Rainbow Days, Mori Gallery, Sydney
Gossamer Curtain, Sutton Gallery, Melbourne
2001 Tuesday’s Child, Sutton Gallery, Melbourne
Sugar Nights, John Curtin Gallery, Perth
Violet Window, Greenaway Art Gallery, Adelaide
Art Lifts: Lifting Art, lift installations, National Gallery of Australia, Canberra
2000 Sugar Nights, Greenaway Art Gallery, Adelaide
1998 Blue Room, Greenaway Art Gallery, Adelaide
1996 Pillow Talk, Greenaway Art Gallery, Adelaide
1994 Nu-ren, Greenaway Art Gallery, Adelaide
 
SELECTED GROUP EXHIBITIONS
2012 Deep Space: new acquisitions from the Australian art collection, Art Gallery of SA, Adelaide
Art Stage Singapore, Marina Bay Sands, Singapore, (Greenaway Art Gallery Stand)
In[Two]Art, touring exhibition, SH Ervin Gallery, Sydney and Orange Regional Gallery, NSW
2011 Black Box White Cube, the Arts Centre, Melbourne
Group exhibition, Queen Victoria Museum & Art Gallery, Launceston, Tasmania
2010 Imagining the Everyday, Pingyao International Photography Festival, China
Snapshot, Latrobe University Museum of Art (MUNA), Melbourne
In[two]art, Maitland Regional Art Gallery, NSW
2009 Group exhibition, Chaffers Gallery, Wellington, New Zealand
2000+ Contemporary Works from Bendigo Art Gallery, Latrobe Regional Gallery, VIC
Fashion loves Art, L'oreal Melbourne Fashion Festival, Melbourne and touring
roadmovies, 2009 Adelaide Film Festival, Contemporary Art Centre of SA, Adelaide
Opening exhibition, National Portrait Gallery, Canberra
Vertigo, Monash Gallery of Art, Melbourne
2008 Opening exhibition, Tenerife Espacio de las Artes, Tenerife, Spain
The truth of the matter, Monash Gallery of Art, VIC
Chaos and Revelry, Counihan Gallery In Brunswick, Victoria
2008 Josephine Ulrick and Win Schubert Photography Award, Gold Coast City Art Gallery, Qld
2007

Artissima, ART14, Art Fair, Torino, Italy, in association with Sutton Gallery, Melbourne.
Fotonoviembre 2007, photographic biennial, Centro de Fotografía, Tenerife, Canary Islands, Spain.
SALA Festival exhibition, Art Gallery of South Australia, Adelaide.
Re(action), Maitland Regional Art Gallery, New South Wales.
2007 William and Winifred Bowness Photography Prize, Monash Gallery of Art, VIC.

2006 onetoeightandcounting, SALA Festival exhibition, Light Square Gallery, Adelaide.
Dutch Under, Canvas International Art, Netherlands.
Back to Back, AWI photographic exhibition, Museum of Contemporary Art, Sydney.
Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne.
Crash (and other earthly pleasures), 2006 Perth International Arts Festival, Lawrence Wilson Art Gallery, The University of Western Australia.
Changeling, Australian Centre for Photography touring exhibition, Hobart City Council Carnegie Gallery, TAS and Latrobe Regional Gallery, VIC.
Ex[posed], photographic images of the body, La Trobe University Art Museum, VIC.
2005 The Children's Hour, Museum of New Art (MONA), Michigan, USA.
Citigroupe Private Bank Australian Photographic Prize exhibition, high commendation, Art Gallery of NSW.
Untold Stories, Warrnambool Art Gallery, Vic.
2004 Surface Tension, Australian Centre for Photography, Sydney
Adelaide Biennial of Australian Art, Art Gallery of South Australia
Universal Playground, 2004 Adelaide Festival of Arts, Adelaide, South Australia
2003 A Mix, Greenaway Art Gallery, Adelaide
Naarden Foto Festival, Netherlands
Gold Coast Ulrick Schubert Photographic Award, Gold Coast City Art Gallery, Queensland
City of Hobart Art Prize 2003, Tasmanian Museum and Art Gallery, Tasmania
Hermanns Art Award, Christine Abrahams Gallery, Melbourne and touring Australia
Second Sight, Brisbane City Gallery, Brisbane City Hall, Brisbane
ACT XII: new works on paper, Victorian Arts Centre, George Adams Gallery, Melbourne and touring
Recent works from 2002, Riddoch Art Gallery, Mt Gambier, South Australia; Watch This Space, Alice Springs, NT
Photographica Australis, touring to major galleries and museums throughout Asia
Fotonoviembre 2003, photographic biennial, Centro de Fotografía, Tenerife, Canary Islands, Spain
2002 Goldcoast Ulrick Schubert Photographic Award, Gold Coast City Art Gallery, Queensland
Melbourne Art Fair, Royal Exhibition Building, Melbourne
32 nd Alice Prize, The Araluen Centre for Arts & Entertainment, Alice Springs
Conrad Jupiters Art Prize, Gold Coast City Art Gallery, Queensland
Hermes Photography Project, 476 Pitt Street, Sydney
Photographica Australis, Sala de Exposiciones del Canal de Isabel II, Madrid, Spain
2001 The Syntax of Style, Australian Centre for Photography, Sydney
Telling Tales: The Child in Contemporary Photography, touring Australia
Shoot!, Australian Photography from the Corrigan Collection, Gold Coast City Art Gallery, Queensland
City of Hobart Art Prize 2000 Exhibition, Tasmanian Museum and Art Gallery, Tasmania
2001 National Photographic Purchase Award, Albury Regional Art Centre, New South Wales
SALA Week ‘01 Exhibition, Art Gallery of South Australia
Fotonoviembre 2001, photographic biennial, Centro de Fotografía, Tenerife, Canary Islands, Spain
2000 MA Fine Art Exhibition, Chelsea School of Art, The London Institute, London, UK
Telling Tales: The Child in Contemporary Photography, Monash University, VIC and touring Australia
Young New Artists, Gallery Luis Adelantado, Valencia, Spain
Chemistry, Art in South Australia 1990-2000, Art Gallery of South Australia
Melbourne Art Fair 2000, Royal Exhibition Building, Melbourne
Defiling the Object, Gabriel Gallery, VIC; The Substation Gallery, Singapore
1997 The Measured Room, Contemporary Art Centre of South Australia
AGFA National Photographic Award Exhibition, Albury Regional Art Centre, New South Wales
The Hutchins School Art Prize Exhibition, The Long Gallery, Tasmania
EVA ‘97, Emerging Visual Arts Exhibition, Pulteney Grammar School, Adelaide
1998 ACAF 6, Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne
Defiling the Object, Nexus Multicultural Arts Centre, Adelaide
The 1998 Alice Prize, The Araluen Centre for Arts & Entertainment, Alice Springs
1999 Moët & Chandon Touring Exhibition, AGSA, AGNSW, NGA, RMIT Gallery, Australia
ARCO ’99, International Art Fair, Madrid, Spain ( Greenaway Art Gallery Stand)
The Measured Room, Centre for Contemporary Photography, Melbourne
SALA Week ‘99 Exhibition, Art Gallery of South Australia
We are Australian, Melbourne International Festival of the Arts Exhibition, George Adams Gallery, Victorian Arts Centre
…and all things nice; These Anxious Moments… These Anxious Times, Nexus Multicultural Arts Centre, Adelaide
Picture This, SATEP Touring Exhibition, touring throughout Australia
The Child Within, Adelaide Central Gallery
National Photographic Purchase Award Exhibition, Albury Regional Art Centre, New South Wales.
1996 Hearsay: new photo artists, Australian Centre for Photography, Sydney
1995 Recent Acquisitions, Moët & Chandon Art Acquisitions Fund Exhibition, Art Gallery of Western Australia
 
COLLECTIONS
National Gallery of Australia; National Gallery of Victoria; Art Gallery of SA; Art Gallery of WA; National Portrait Gallery, Canberra; Queen Victoria Museum, TAS; Gold Coast City Art Gallery, QLD; Araluen Centre for the Arts, NT; Artbank, Sydney; Australia Council for the Arts, Sydney; Monash Gallery of Art, VIC; Victorian Arts Centre, Melbourne; Bendigo Art Gallery, VIC; Horsham Regional Art Gallery, VIC; McClelland Gallery, VIC; Moreland City Council, VIC; Albury Regional Art Centre, NSW; Maitland Regional Art Gallery, NSW; Riddoch Art Gallery, SA; BHP Billiton Collection, Melbourne; Wesfarmers Collection, Perth; La Trobe University Art Collection, VIC; Samstag Collection, University of SA; Adelaide University; Curtin University, Perth; Edith Cowan University, Perth; Murdoch University, Perth; St Peter’s College, Adelaide; St Peter’s Collegiate Girls School, Adelaide; Wilderness School, Adelaide; Corrigan Collection, Sydney; Reg & Sally Richardson Collection, Sydney; Collection of Anthony and Heather Podesta, USA; Canvas International Art, Netherlands; Fundacion Pi y Margall, Madrid, Spain; Cabildo Insular de Tenerife, Spain